The Costume & Textile Specialists Exhibitions, Collection Management, Appraisals, & Conservation Colleen Callahan and Newbold Richardson

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1 The Costume & Textile Specialists Exhibitions, Collection Management, Appraisals, & Conservation Colleen Callahan and Newbold Richardson 3801 Brook Road #B, Richmond, VA (voice & fax) Developing & Installing a Themed Clothing or Textile Exhibit Hosting a themed clothing or textile exhibit at your museum, historic house or site can have many positive outcomes such as increased visitation and visibility and a more committed volunteer core; however it is important to be aware of the logistics, staff needs, and costs of such an exhibition. The focus of this handout is the display of clothing but also touches on the display of flat textiles. Throughout the exhibition process, you must keep in mind that displaying clothing and textiles is very stressful on them. There is no way to avoid a certain amount of manipulation in order to get the garment on a mannequin or a textile prepared for framing or hanging. The first consideration should always be to determine if the artifact is strong enough to withstand the manipulation needed for it to be attractively displayed. Choosing a Theme and Obtaining Appropriate Artifacts: These two aspects of the exhibit go hand in hand. You need a theme that is in keeping with aspects of interpretation of your institution and you need to have access to artifacts that can communicate this theme. This handout references specific issues from four very different clothing exhibits two in traditional museum gallery settings and two at historic house museums: Traditional Gallery Exhibits: o Something Old, Something New: Inventing the American Wedding at the DAR Museum (DAR) o Fashion Stores of the South: Thalhimers, Miller & Rhoads and Montaldos (Fashion Stores) at the Valentine Richmond History Center (VRHC) Historic House Museum Exhibits: o Calicoe, Cambrick, and Casimir: Clothing for Work and Fashion in John Marshall s Richmond, (Calicoe) at the Association for the Preservation of Virginia Antiquities/John Marshall House (JMH) o Talley Ho & Mistletoe: Costume & Celebration at Belair (Tally Ho!) at the Belair Mansion & Stable Museum (BMSM) Theme Ideas: Clothing focusing on or combining social, fashion or historical themes over a period of time or of a specific era (Don t forget the 20 th century is now history!) (DAR, VRHC) Clothing from main era of your historic house interpretation including fashionable dress and clothing worn by the servants (JMH) In a historic house or site, if different spaces are interpreted to different periods, clothing appropriate for the different spaces and periods (BMSM) Clothing Sources: Clothing from the collection of the institution (BMSM, DAR, JMH, VRHC) Clothing loaned from a private collector (BMSM, JMH) or the public (DAR, VRHC) A combination of clothing from the institution and private sources (BMSM, DAR, JMH) Having reproduction pieces made to fill in missing historic garments to complete an outfit (BMSM, DAR & JMH) or to substitute for an original too fragile to display. Clothing loaned from other museums (BMSM) 1

2 Staffing Needs Exhibits of historic clothing are very time consuming to mount because with each fully mounted outfit, you will be creating a sculptural, three-dimensional representation of what the clothing looked like when it was worn. Also, some of the garments will probably have condition issues requiring sewing stabilization before they can be exhibited. Below are the general staffing needs for clothing exhibits. A Curator: Museum staff person (DAR, JMH, VRHC) or an outside consultant (BMSM) who selects the theme & the clothing, writes the label copy, and oversees the budget and all staff, contractors and volunteers working on various aspects of the exhibition. A Design & Exhibit Installation Team: o Traditional Museum: If you are setting up a display in a traditional museum setting, you will need some type of design and exhibit furniture (platforms, vitrines, cases, moveable wall sections, barriers, etc.) This can be as simple as having the curator or in-house exhibit installers recycle exhibit furniture on hand into a new configuration appropriate for the exhibit (VRHC), or the more complicated and expensive option of hiring an outside design firm to create a design and make exhibit furniture specifically for that exhibit (DAR). Working with an Exhibition Design Firm: Unless the exhibit design firm has done costume exhibits before, chances are that they will need to be educated as to the time & space needs of installing the costume components and the placement of labels so as not to obscure the clothing. If changes to exhibit designs are needed, there may be cost overruns to your exhibit budget. o Historic House: For a clothing exhibit in a historic house (BMSM, JMH), the house itself provides the design background. However, careful plans will need to be made for the number of figures and their placement in the house and sometimes cases will be needed for accessories. Also, you need to figure out how you are going to display the labels as you will not be able to attach them to the walls poster size labels on easels are a good solution for the main general labels and a handheld printed gallery guide can provide visitors with the identification and donor details about individual outfits. You also have the option of placing garments on furniture on top of an acid-free barrier or laid out on a bed. A Clothing Installation Manager: This person must be knowledgeable about all aspects of the mounting and installation process for clothing from scheduling to acquiring the mannequins/forms and other mounting supplies to actually installing the clothing on the forms or mounts. She/he can be the curator (VRHC), a professional consultant (BMSM, DAR, JMH) or a volunteer. Museum design and installation firms generally will not have someone on staff that can do this their focus will be on designing the gallery space, producing the exhibit furniture, and dealing with the label production. The design firm, as well as the museum s administrators, will need to be educated as to the special complexities and time involved in properly mounting even a moderately-sized clothing exhibit and the need for specialized staff to install the clothing hanging a painting on the wall and fully mounting an 1880s bustle dress have nothing in common! Clothing Installation Staff: These are the people that do the actual mounting and installation they can be museum staff, volunteers, and/or professional installation/conservation consultants the most time and cost-effective version is a combination of all three groups. These people must be trained in how to handle period clothing and, if necessary, how to stabilize it; have a background in clothing history in order to create the proper silhouette for the garments; and have both machine & hand sewing skills. o Using Volunteers and Interns Effectively: Clothing exhibits are great ways to use talents of a committed volunteer core, who will become even more committed to the institution as they work on the exhibition as long as the experience is positive. Because costume exhibits are very labor intensive to mount, you don t want to burn out your volunteers, so we suggest that you contract with a professional to provide advice and direction to the volunteers and museum staff for a small exhibit in a historic house, even just one day s consulting from a professional can make a big difference. Volunteers and/or student interns contributed to each of the exhibits profiled and in fact, none of these exhibits could have been done within budget without such volunteer help. 2

3 Mounting a Clothing Exhibit Although handling and mounting period garments is very stressful on the garments once the garments are mounted properly, they will be fully supported, and, as long light levels are low in the exhibit, the outfits will be safe to display for several months. Mounting a clothing exhibit is not rocket science but there are many tricks of the trade advice from an experienced professional can save you much time, trouble and money. Forms: Perhaps the biggest hurdle to mounting a clothing exhibit, especially for women s clothing dating before the 1920s, is acquiring size-appropriate forms. However, it is possible to acquire or make period appropriate and archivally safe forms that do not cost the museum s entire budget for a year provided you can make your own or adapt commercially available forms and customize them to the needs of the clothing. Because the issue of what forms to use so complicated, it is good to have professional advice at the start of your planning period so you can make the best decision for your site in terms of time and cost. Among the considerations you will have to address are: How stylized or realistic you do you want the forms to look generally, the more realistic, the more money and time involved. Whether you want headless forms or ones with heads (the latter have to have hair an added complication!) it is possible to combine headless forms and ones with heads in the same exhibit (BMSM, JMH, VRHC) but it has to be done carefully. Where to get the forms whether to make your own, purchase, borrow, or rent. Making Your Own Forms & Mounts: The biggest considerations here are: the personnel and time needed to make the forms and/or mounts, as well as the budget for the materials. Torso Forms: The best material to use to make headless torso forms is Ethafoam, a hard foam that can be carved that is made by the Dow Chemical Corp., which is the only truly archival hard foam available. Ethafoam comes in blocks and planks of various thickness and size, and is available at building supply stores that sell plastic products, as well as from conservation catalogues (it is also used for storage mounts). The basic method is to glue several blocks together and carve them (using steak or electric knives) into a torso based on measurements from your garment or use a single plank to create a paper doll style silhouette. Then the form is padded out using polyester quilt batting and covered with cotton stockinet as a skin. You will also need to make arms of stockinet or nylon knee-high stockings (see about arms under Other Considerations below) and, if you are dressing full-length garments, deal with having stands made for them. Hanger Mounts: Hangers that have been covered and padded with a stuffed torso shape work very well for children s clothing as well for some adult clothing separates, such as tee shirts. The best hanger to use is a flat wooden hanger that has been cut to the width of the shoulder of the garment. Cover the hanger with quilt batting (the thicker the better) or mattress padding in the size and shape you need for the body to go under the garment and then cover it with stockinet. Arms will need to be made and ruffled netting can be added for petticoats to fill out skirts. For display, the dressed hanger mount can be hung on wall with hooks or grid display panels or the metal hanger removed and eyehooks substituted and the form suspended from the ceiling with fishing line. Or the hanger mount can be used on a stand with a wooden support added to the center of the hanger with a hole drilled in it for a rod this works very well for children s clothing. Other Constructed Forms: There are many instances that you will be called upon to use your ingenuity in order to make economical mounts that will work well to display garments or accessories that won t fit onto a traditional form. In all cases, barriers (polyester batting, stockinet, etc.) are used to protect the garments from the mount materials. These include: o T-shaped stands made of wood or plastic with to display simple T-shaped clothing such as kimono, tee shirts, women s chemises, men s shirts, etc. o Waist mounts for skirts or pants made out of wood or Ethafoam, which has been cut to fit inside the waistband of the garment. After covering with batting and fabric, the garment waistband can be hand sewn onto the mount and positioned on a stand or suspended from eyehooks using fishing line. Buckram Accessory Mounts: See directions in handouts. 3

4 Board mounts: The traditional mount for small flat textiles, such as samplers, textile fragments, lace collars, bandanas, etc. is a board mount in which a support fabric is stretched over a piece of acid free museum board padded with a layer of quilt batting and the textile stitched to it. A board mount can be framed using UV filtered Plexiglass or conservation glass. Plexiglass does scratch easily and has a lot of static electricity, which can be very harmful if it is allowed to touch the textile, so a spacer must be used in the framing. Plexiglass is also expensive, especially if you need a sheet larger than 4 by 8. Padded form core board mounts placed on an angle in the exhibit (slant boards) can be used for clothing or textiles by tacking the object in place but this method does not work well for highly dimensional garments. In a pinch, the paper doll cut-out method can be effective a sheet of foam core board is cut out in the shape of the garment & the board padded and covered with fabric and the garment placed on it. Quilts, Banners, & Flags: Quilts and other large textiles can be hung on a wall by machine sewing the loop side of a 2 strip of Velcro to a strip of 3 wide twill tape or webbing and then hand sewing the Velcro strip to the back of the quilt. Staple or hot glue the hook side of the Velcro to a strip of wood and attach the mount to the wall and carefully marry the Velcro on the quilt to that on the wall mount. Mount-less Options: Some times you will want to display clothing accessories (shoes, fans, etc.) or individual garments without dealing with a mount. Doing this can be as simple as arranging them on levels within a vitrine (traditional museum) or placing them on a table or bed (historic house). Keep in mind that you should not place easily portable items out without security precautions, especially if your visitors can take self-guided tours. Purchasing Forms: Refer also to the Mannequin Source Handout for more information about specific firms and the types of forms available from them. Museum Forms: There are a few firms that make forms that are specially designed for use in museum exhibits. The main difficulty with these forms is their cost, which range from $500-$1500 (or more) each. Commercial Store Forms: There are two types of commercial forms that are readily available: fiberglass forms, which come in many styles, and hard foam forms that can be carved. Fiberglass: Modern fiberglass forms (made after the 1970s) are generally too big for use with period garments and they are often stylized into strange positions not conducive to displaying museum garments. However, if you are doing an exhibit with clothing dating after the 1920s, such forms may work well. Fiberglass forms dating before the 1970s can work for period garments because they are generally smaller than current forms, are less stylized, and break at the waist not the hip (gives you more options to adjust the waist length of a garment), but such forms will still probably need to have major surgery in particular, the bust area often needs to be cut out and often they will need refurbishing with repairs and repainting. Versions of forms of all styles and dates are available at used mannequin stores in most large cities. Hard Foam: The Manex France Display is one company that makes excellent quality hard foam forms that can be carved to shape. Although not made of Ethafoam, the Manex foam is stable and at no time are the garments in direct contact with it because the forms come with a cotton knit cover and then are covered with additional layers of fiberfill padding and final covering of cotton stockinet. These forms are sold headless but stylized heads are available for them. We suggest these forms more than any others to small institutions because of their moderate cost (most styles range from $150 to $250 each) and ease of use (they are lightweight & go together easily).they still require carving and/or padding out to customize them for period clothing and the addition of soft arms, but are by far the most economical and flexible solutions for short term exhibits of a year or less. For 19 th century adult clothing, we find that adapting and padding larger size children s forms works best. Borrowing Forms: Borrowing forms from another institution is sometimes an option. However, this may not be as convenient or as economical an option as it first may seem. Fiberglass forms with heads also have arms, hands, stands and/or legs, which can be awkward and/or costly to transport or ship, and all of these parts are subject to breakage. It also will be difficult to determine ahead of time if the forms you want to borrow are the right size if you are only working from measurements. For example, even if the waist measurement of a bodice is the same as that of the form you want use, if the waist length of the bodice is shorter than that of the form, the bodice waist will not correspond to the waist of the form and will likely not fit on the form. Lenders will also likely place restrictions that don t allow you to make permanent changes for the forms in order to customize them for your needs. 4

5 Renting Forms: Museums and used mannequin firms may have rental options, and we also have a stable of forms that work for period garments that we rent out at reasonable rates for short term exhibits. Unlike borrowing for free, where you would have to take what you are offered, you would only rent forms that will work for your garment. This option is best for a site doing a one-time exhibit of clothing that will have no use for the forms afterward. A combination of purchase/rental also works well for sites that are doing a largish exhibit (more than 5 dressed forms), but would like to have a few forms on hand for future displays. One of the (many!) difficulties of dealing with forms is where to store them after the exhibit they take up a lot of room & most sites don t have much space to store forms that will only be used on occasion in exhibits. Other Considerations: Underpinnings, Arms & Legs, Repro Accessories, Hair: For any successful display of a complete outfit, in addition to the form being padded out (or cut down!) to the size of the original wearer, it must have the correct period silhouette such as the cone-shaped torso of the 18 th century woman, or the hour glass figure of the late 19 th century, as well as the period appropriate shaping for skirts that was provided by hoops, petticoats, and bustles, etc. If using a headless form, it also must have arms, and if using a full mannequin with a head, hair, and if the legs show, stockings & shoes. Underpinnings: In order for the dressed outfits to look correct on the forms, they will need some sort of underpinnings including padding, petticoats, slips, etc. or some combination of these. You cannot just put the garments on forms and expect that they will have the proper period silhouette even a 1960s minidress needs a slip. Your local bridal shop is a great source for inexpensive ($10-$15 each) used nylon net petticoats that can be adapted for period garments. You may also be able to borrow underpinnings from a local or university theatre department. If at all possible you should try to avoid making petticoats from scratch because of the time involved. However, sheer dresses may require a custom-made slip so that the other underwear pieces don t show through. Arms: Nothing spoils an otherwise nicely mounted garment on a headless torso form more than if it doesn t have arms to support the sleeves. For these forms, you will need to make soft arms out of 2 stockinet or nylon knee high panty hose, and it will need to have an armature of wire covered with plastic from the hardware store built into it. Legs: For trousers on forms, stiff pellon interfacing shaped into a tube works well for leg supports (and pellon also works skirt supports for modern A-line skirts). Manex s Evolution line of forms are meant to be used for outfits with trousers they have short legs and the rod goes up one leg, rather than the middle of the form. Reproduction Accessories: Reproduction accessories such as shirts, collars, undersleeves, etc. may need to be constructed to give the outfit a proper period look. Hair: For mannequins with heads, what to do about the hair is one of the most problematic issues to deal with. All sorts of materials have been used over the years from realistic wigs to stylized hair made of fabric, paper, plastic horsehair, or raffia. Look at different costume exhibits to get ideas of what you will want to do but, whatever you choose, be prepared for this aspect of the installation to take a lot of time and effort. Better yet, opt for headless forms! Scheduling & Space Considerations Mounting and installing even a small clothing exhibit (5 or fewer forms) is time consuming in fact, if it is done right, mounting a clothing exhibit will take more time than you ever thought possible (certainly more time than your museum administrators think it will take!). We generally allow 8 to 10 hours for mounting most 19 th century women s garments, 4 to 6 hours for 20 th century women s garments, and 2 to 6 hours for men s and children s clothing. These hourly ranges include the process from identifying and acquiring the proper forms through the actual mounting process to installing the outfits at the exhibit site and individual outfits can take even more time. These estimates do not include the time required to select the garments, to write any of the label copy for the exhibit or do any conservation/ stabilization that may need to be done to the garments keep in mind that condition problems may not become obvious until the garment is being mounted and must be addressed at that time so you need to allow time for unexpected problems. When to Begin: You should try to allow a year to plan a moderate size exhibit of about 20 fully mounted outfits and adjust the time accordingly for less or more pieces and how realistic or stylized your mounts will be. Keep in mind that besides the actual mounting process (see below), adequate preparation time is needed for staff to secure funding for the exhibit, research and develop the theme, locate the garments and the forms, write labels and any accompanying printed materials such as gallery guides, develop public programs in conjunction with the exhibit, publicize the exhibit, etc. (There is a lot of etc.!) 5

6 Staging Space: Because the mounting paraphernalia of clothing exhibits forms, petticoats, etc., take up so much room, you must have adequate space to mount the clothing, including space for work tables and clothing racks, space for installers to walk around the outfits being mounted on forms, etc. Keep in mind that this space or an adjacent space will need to be secure storage for the historic garments while you are working on the preparing the forms. Mounting and Installation: The actual mounting process for an exhibit of 20 outfits should begin at least 2-3 months before the opening this means that a staging space must be available by this time. Because this staging process usually cannot take place over such a long time in the exhibit gallery or at a historic house site, we generally pre-dress the outfits on the forms in the staging area or our studios, working out all the adaptations to the forms, padding and underpinnings. We then take the historic garments off their mounts and take the forms to the exhibition site in their underwear. The historic garments are brought to the site and redressed on their forms. You should allow at least a week for the installation at the exhibit site. Exhibit Notebook: The curator and the main installer must keep exhibit notebooks in order to keep track of all aspects of the exhibit. To track the mounting process, we use a chart format with one row for each mounted outfit. Programming: Be sure to include developing public programs into the exhibition preparation process. There are many creative programming ideas that can be implemented in conjunction with clothing exhibitions, including specialized group tours for both school children and adults, lectures or living history vignettes related to the exhibit theme, workshops on how to store and care for clothing heirlooms, etc. Costs & Funding Sources It is not possible to do a clothing exhibit for no money, but it is possible to do very effective exhibits on a limited budget. Keep in mind that by displaying the outfits in a historic house setting, you have the cost advantage of using the room settings as your background design, and usually you can get by without expensive design services or exhibit furniture like platforms or vitrines required in more traditional gallery settings. However, garments on forms on platforms or accessories in vitrines can also be used in historic houses both the JMH and BMSM exhibits used vitrines to display accessories it just costs more and makes for a more stylized display. To give you an idea of the actual costs involved: VRHC exhibit was done for $3000 using in-house staff, forms and design furniture most of the budget went for printing the labels. The BMSM and JMH exhibits (in historic houses) were done for under $10,000 and professional clothing installers were the largest expense in both cases. Other historic houses we consulted with have done very successful exhibits for between $1000 and $3000, primarily using volunteer labor. The DAR exhibit was the most expensive, costing over $50,000. Here the biggest expense was for the professional design firm and budget overruns did result when some changes to the design were made. Professional clothing installers were also hired for this exhibit. Expenses to Consider: Historic Clothing: Conservation services and materials, loan or shipping fees for borrowed clothing, costs for making reproduction items if elements are missing from the original. Design Firm: Depending on the scale of the exhibit and the number of services supplied, this fee can run in the tens of thousands of dollars (DAR). However, it is very unlikely that the design firm will have anyone on staff qualified to do the actual costume mounting, so there needs to be a separate budget line item for the costume mounting and installation costs. Professional Staff: Fees for a guest curator (BMSM) and/or professional mounting and installation services (BMSM, DAR, JMH). Forms and Supplies: Form purchases or rental, mounting materials (ethafoam, quilt batting, stockinet, etc.), underwear (slips, petticoats, etc.), sewing supplies Labels: Don t forget the costs of having professional looking labels printed. Our modern computers can produce very nice smaller labels and gallery guides but if your in-house capacity is limited, be sure to include printing costs for labels. Funding Sources: You need to be creative in order to fund clothing exhibits or to get free in-kind help. However, because the final result will be appealing to a wide audience, this opens the door to a range of potential donors. Object Donors or Lenders: If you are using items donated to your collection or borrowed from local people, consider asking the donors or lenders for money to support the conservation and/or display of their family pieces. Even a $100 per outfit can help. 6

7 Your Volunteers: Your volunteers may be willing to contribute more than their labor especially if the long-term benefits of their contributions to the institution are emphasized. For example, after a volunteer at a small historic house museum saw the problems of using old store mannequins, she and her husband contributed the money to purchase two Manex forms. Local Businesses: Contact local clothing-related businesses such as retail stores, fabric stores, dry cleaners, etc. for support. Other business may be interested if the theme of the exhibit relates to their enterprise, such as a funeral home sponsoring an exhibit on mourning. But don t overwhelm small businesses by asking for too much even $300 to $500 can make a big difference for a small exhibit. Support from such firms can also come as in-kind contributions, such as borrowed forms, fabrics, or dry cleaning services. Individuals Connected to the Exhibit Theme or Local Clubs or Societies: For the Fashion Stores exhibit, individuals who had worked at the stores contributed prop items such as original store fixtures to the exhibit, and one former executive contributed money. Veterans groups such as the VFW can be both sources for uniforms and monetary support for exhibits about local participation in recent wars. Consider contacting ethnic heritage societies if you are doing an exhibit on individuals from their group who settled your region. Local or Regional Public and Private Granting Sources: Local or regional arts councils or private foundations that fund cultural projects are great sources to contact for support. Be sure to be aware of any grant deadlines and requirements so you can include them in your planning process. The JMH exhibits received funding from such sources. State and National Governmental Granting Sources: For larger projects, consider state or national historic or arts granting agencies. The BMSM exhibit was funded in part from a grant from the Maryland Humanities Council. For more information, see the handouts on grants & granting agencies. 7

8 Dressing Materials/Notions Suppliers Buffalo Batt & Felt Co. Polyester fiberfill quilt batts: Super Fluff on a roll is best buy 3307 Walden Ave get the roll that is 1 ½ inch deep by 50 inch wide by 18 feet long for most Depew, NY flexibility can separate into layers as needed , ext 130 Greenburg & Hammer (Catalog) All types of sewing notions, including: thread, twill tape, safety pins, 24 West 57 th Street needles, etc. Millinery supplies such as buckram and hat wire. Also New York, NY Velcro , Test Fabrics (Fabric Swatch Books) Supplier of unprinted & unsized fabrics in many fibers and weaves 415 Delacran Avenue for use in conservation and storage of clothing and textiles. P.O. Box 26 Muslin for hangers use unbleached cotton print cloth, style 400U. West Pittston, PA Jule-Art, Inc P.O. Box Albuquerque, NM / info@jule-art.com Prefabricated & custom-made acrylic display pieces for all kinds of objects and all kinds of countertop display units. Southern Prosthetic Supply: Maker of cotton tubular stockinet for medical suppliers. P.O. Box 404 Alpharetta, Georgia (call to get local supplier) Supplier in Richmond, VA: Thomas Powell, Inc , ask for Betsy You must buy stockinet from a local distributor call for names or if ordering from the Richmond source tell Betsy that Colleen suggested you call. 8 stockinet is used for holding fiberfill in place on torso of mannequins; 2 stockinet is used for making arms-great stuff, lots of uses for museum storage & display. Always wash before using. Some Mannequin Sources Dorfman Museum Figures (Brochure) Suppliers of conservations forms made of ethafoam, also 6224 Holabird Avenue realistic figures. Forms run from about $500 to Baltimore, MD thousands for the realistic ones , Goldsmith Inc. (Brochure) Developed Ladies of Fashion, adjustable fiberglass th Avenue female forms with heads. Work well for 19 th century garments Long Island City, NY but cost about $1100 each Manex France Display (Catalog) Headless Ethafoam-like forms and a variety of other mannequins. 126 West 25 th Street Best buy for short term exhibits; headless forms cost $125-$150 New York, NY depending on style. Will give volume discount for museums & , universities. Excellent service get orders quickly. Melvin S. Roos & Co. (Catalog) Atlanta GA, Commercial display forms. Good, inexpensive source. Also carries hangers & commercial display materials that may be useful. Used Mannequins: Most large cities have display fixtures stores where you can buy used fiberglass forms. One good one is: Mannequin Service Company, Att. Lania D Agostino, 1440 Light Street, Baltimore, MD 21230, For 19 th century garments, look for female forms with small ribcages & waists and made before the 1970s that split at waist, not the hip. Males should have small chests (34 or less) & narrow shoulders. 8

9 Figure & Location & Source Costume & Textile Specialists Institution Name Date Garment Description Garment Condition & Display Pinning/Tacking Form Source Form & Stand Form Notes Underwear, Arms, Legs, Repros: s & Source Dressing Notes & Rental Costs Petticoat: Arms: Source & Petticoat: Arms: Source & Petticoat: Arms: Source & Petticoat: Arms: Source & Petticoat: Arms: Source & 9